women went to in order to look good in the‘Austerity Britain’ of the Second World War. It was a time of making the best of what was available and this resonates with consumers today. Since the 1920s, skirt length has long been linked with economic prosperity. The Hemline Index suggests that in good economic times women raised their hemlines to show off their silk stockings , then when times were harder women lowered their skirts to hide that they weren’t wearing any. Although silk stockings haven’t followed us into 2011, recent seasons have seen the popular resurgence of both the maxi and the midi skirt. Fashion was ladylike and elegant in the 40s and 50s and we’re now seeing that again with pencil skirts and classic silhouettes everywhere on the highstreet for Autumn. So why are the 60s and 70s - periods commonly associated with ‘free love’ and the mini skirt - back too? Despite the seemingly obvious opposition to earlier, more refined decades, it does actually
make sense. As much as today’s society has in common with the economic side of wartime Britain, it is an era with a different mindset and set of social customs, many of which seem distant and outdated today. Many of the differences between the 40s and modern society came about through social and political movements in the 60s and 70s such as feminism and the gay rights movement. Together, the two generations seem to make sense in our modern perspective: the mindset of the 60s and the frugality of the 40s. The amalgamation of two trends that aren’t traditionally associated with one another to create something entirely new is exactly what fashion is about: reinventing the old to make it fresh. Taking past trends and reimagining them for a new generation isn’t a lack of inspiration, but a testament to a designer’s originality in creating modern, wearable clothes that represent both our fashion history and our current identity. Lizzy Bullock
A lesson in fashion history
Metal Collar Necklace, ASOS, £12
Dalmatian Boots, Topshop £75
Elie Tahari 2011
Pencil Skirt, River Island £15
Max Mara 2011
Alexander McQueen 1995
When Helmut Newton first took the now iconic photgraph of Yves Saint Laurent’s ‘Le Smoking’ tuxedo in 1975, the brand became famous for their masculine-cut suits, and have sent a different version down the catwalk every year since. This year, the androgynous trend proved its enduring popularity as designers across the globe revealed their own interpretations of YSL’s masculine aesthetic. From white tuxedos with bow ties at Jason Wu, to cropped suit jackets and sequins at the Olsen sisters’ label The Row, the Autumn/Winter 2011 collections revealed that the designers of the present are more than familiar with the icons of the past. Israeli-born designer Elie Tahari’s offering of black lace bodices with sheer panelling bore a striking resemblance to Jean Paul Gaultier’s 2001 cut out corset, and with the fetish look a major trend this season, everyone from Topshop Unique to Louis Vuitton was channelling their inner vamp. The infamous 1995 Alexander McQueen show ‘Highland Rape’ was another apparent reference point for the designers of 2011 as a veritable tartan army was sent down the runway. Max Mara updated their clean cut aesthetic by offering subdued tartan dusted with glitter, while Burberry combined the trend with a nod to the 60s through their checked coats in primary colours. The 60s wasn’t the only decade to crop up on the catwalk; a popular alternative was the 40s, as seen in glorious technicolour at Gucci, and in the ladylike elegance at Donna Karan, while there were even a couple of 50s-style Teddy Boys at Dolce and Gabbana. Modern designers’ fascination with the history of fashion is seen year after year and in collection after collection. The creations that emerge from this fascination fuse past and present in a way which not only serves as testament to the continued influence of the innovators of the past, but as a herald of the promise of the future. Francesca Clayton
Leather Front Tee, Topshop, £50
Jason Wu 2011
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or the past few seasons the catwalk has seen a dramatic increase in the number of designers referencing past eras. Trends from the 40s, 50s, 60s and 70s have slipped back into fashion like they never left in the first place. But why have these looks suddenly become fresh again and what does this say about us as consumers? Fashion has always acted as a barometer for the socio-economic climate of the time. Designers take influence from the world around them - and the market they are selling to - when envisioning future collections in order to remain relevant. As we remain entrenched in recession, the excess of couture and the luxe trends from seasons past start to seem tasteless as consumers struggle to make ends meet. Having less disposable income increases our desire for well-made pieces that can be worn over and over again. It comes as no surprise then that the fashion world has gone 40s and 50s mad. The ‘recessionista’ ideology of today is essentially a modern version of the lengths
Jean Paul Gaultier 2001
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Deputy: Lizzy Bullock deputyfashion@ epigram.org.uk
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Yves Saint Laurent 2002
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Editor: Francesca Clayton fashion@ epigram.org.uk
Hat, H&M £12.99